Imagine that you know your destiny. Now imagine that you know what you need to do to fulfill it. But is that vision enough? Is it truly possible to translate those intangible insights into tangible outcomes? And what of any obstacles that appear in your path – what purpose do they serve? Those are the questions raised in the thoughtful new biopic, “The Man Who Knew Infinity.”

The film tells the life story of Srinivasa Ramanujan (Dev Patel), an early 20th Century mathematical genius who devised a variety of groundbreaking theories, mainly by intuiting them from what he considered an unseen divine source. He knew he needed to share these ideas with the world by getting them published through reputable channels, such as the scholarly journals of the time. However, given the means by how he arrived at these notions, coupled with the fact that he was an “uneducated” clerk from Madras, India, he was met with much prejudicial opposition from the learned powers that be, especially those with the clout to give his work a fair review.

Ramanujan got a big break, though, when Cambridge University professor G.H. Hardy (Jeremy Irons) – himself a somewhat radical mathematical innovator – decided to investigate his theories in greater detail. He invited his Indian colleague to join him in England to further explore the plausibility of these new ideas.

However, even the blessings of credible allies like Hardy and his colleagues, John Littlewood (Toby Jones) and Bertrand Russell (Jeremy Northam), were not enough for Ramanujan to get his work taken seriously. While his theories were seen as intriguing, he did not have the proofs to verify them, despite his impassioned insistence that they were indeed correct. Such “unsubstantiated” claims and his perceived unwillingness to prove them earned him the reputation of an arrogant charlatan, a label that his condescending English peers unreservedly slapped on him (something that came easily to them in light of their disapproving views of his ethnic background and lack of formal schooling). So, to ensure that Ramanujan received a fair shake, Hardy took him under his wing, shepherding him through the review process in hopes of his material being rendered legitimate. And, by following Hardy’s suggestions, Ramanujan came to understand what it means to have one’s dreams realized – and in ways that exceed expectations.

A keen awareness of our destiny can be both a blessing and a curse. The clarity that comes with such heightened cognizance makes it feel almost effortless in realizing our aspirations. But that kind of unquestioned, self-assured personal understanding often runs afoul of the views of others, especially when placed under the microscope of skepticism. What’s more, given the unshakable faith we often have in such convictions, it’s easy to lose patience with naysayers who don’t share our vision, mainly because, to us, the validity of our contentions should be patently obvious.

So what accounts for such a discrepancy in outlooks? In a nutshell, it all comes down to the beliefs we each possess. And the differences in our respective perspectives become palpable when those beliefs are employed in the conscious creation process, the means by which we harness our thoughts, ideas and intents to manifest the reality we each experience.

For Ramanujan, his faith in his beliefs is so strong that he’s certain of the legitimacy of his ideas; he needs no further proof, and that contention characterizes the nature of his reality and outlook. However, those who require “evidence” of the authenticity of such notions employ a different set of manifesting beliefs in the existence they create, and that variance in intent accounts for the disconnect between their perspective and that of Ramanujan.

But, thankfully, not everything in a scenario like this is black and white. Because conscious creation and the beliefs that fuel it make it possible to materialize an infinite range of probabilities at any given time, there will always be many intermediate shades of gray available, and that’s where Ramanujan’s allies come into play. Since colleagues like Hardy can appreciate the innovative nature of Ramanujan’s work while simultaneously understanding the need for verification required by the skeptics, these intermediaries hold beliefs that take stock of both perspectives, effectively running interference between the two polarizing viewpoints and allowing each to have their say in the unfolding of this line of probability.

Those whose beliefs fall into “the middle ground” in situations like this symbolically help to illustrate how mediated notions metaphysically come into being. As conscious creators are well aware, our beliefs form through the synthesis of the input we receive from our intellect (signified here by the views of the skeptical Cambridge professors) and intuition (embodied in the unshakably poised outlook of Ramanujan). Ideally, though, we often get the best results when we strike a healthy balance between these two sources of inspiration (as symbolized by Hardy’s attitude).

The narrative in this film thus demonstrates how the belief formation process works – and how it can be finessed to work most effectively. However, to reach the point where we can fully appreciate this, we must often go through the process of experiencing the attributes of each opposing perspective (and the beliefs that drive them) to arrive at an equitable compromise, one in which we can value the benefits of both the intellect and the intuition and what arises when the two come into balance. When that happens, we have an opportunity to partake in the dance of the intellect and the intuition in belief formation for bringing forth the intangible into tangible being.

Indeed, while neither element should be allowed to ride roughshod over the other, this is not to suggest that either the intellect or the intuition is inherently damaging. Both clearly have beneficial attributes, and exploring them can prove useful in amassing our individual databases of personal experience.

For example, placing an emphasis on the intellect (as the Cambridge faculty does) enables us to hone our capacity for rational, logical thought. Fields like science and mathematics depend heavily on this, so the greater our intellectual capacities, the more adept we’re likely to become in these areas.

Similarly, focusing on the intuition (as Ramanujan does) allows us to develop an appreciation for feelings, emotions and gut impressions. Art and other creative endeavors benefit from this, enabling us to become more proficient painters, writers, chefs and musicians. But “creativity” is not limited to such tangible expressions; it encompasses anything we manifest through the conscious creation process, and a heightened intuition can help enliven this.

Moreover, a better grasp on our intuition can also help us foster a deeper, more intimate relationship with All That Is, our divine collaborator in all of our manifestation efforts. Ramanujan readily recognizes the existence and splendor of this partnership and doesn’t hesitate to make others aware of the role it plays in his work and the fulfillment of his destiny, no matter how reticent they may be about embracing such an outlook. Overcoming this resistance is challenging for Ramanujan, though, given the widespread skepticism among the intellectually driven Cambridge staff. Even Hardy, who is much more willing than his peers to give his protégé the benefit of the doubt on this point, has difficulty accepting Ramanujan’s contention; as an avowed atheist, Hardy has trouble appreciating such an esoteric concept, despite its undeniable influence on the existence and evolution of his colleague’s work.

Ramanujan’s belief-based faith in the role of the divine in his life has implications that extend beyond the mere development of his revolutionary theories. He knows that All That Is will see him through all of his trials and tribulations, like finding allies who will support him and locating the means to get his work published, because his beliefs enable it. But that faith even goes beyond such comparatively pedestrian challenges, extending into other areas of his life, like dealing with the rampant prejudice he faces in the dogmatic world of academia and, because of his ethnic background, in the world at large.

By going through the process of learning how beliefs form, all of the parties in this scenario (but especially Ramanujan and Hardy) develop an appreciation for the value of change. Again, because conscious creation makes all expressions of existence possible, reality obviously is not a static, unchanging state of being; rather, it is a fluid, dynamic phenomenon that is said to be in a constant state of becoming, with change (and the beliefs that drive it) being the agent of alteration.

Hardy, for example, a mathematical innovator in his own right, readily recognizes the importance of change (having been personally responsible for bringing about significant advances in the field long before he met his Indian colleague), and he’s open to additional new ideas, even if they don’t come from conventional sources. Ramanujan, meanwhile, comes to see that, if he’s to be taken seriously, he must change his ways in how he makes his ideas known, an adjustment that ultimately works to his benefit. And the Cambridge faculty members, like Major MacMahon (Kevin McNally), who have long been ensconced in their own dogma, have their eyes opened by their radical colleagues, making it possible for them to embrace changed outlooks that may have once seemed intractable.

All of these factors loom large in the fulfillment of Ramanujan’s destiny. But, thankfully, he recognizes the wisdom of these ideas as he moves through the process, with a payoff that’s beyond what he imagined – not only for himself, but also for those who benefitted from his work.

“The Man Who Knew Infinity” is a sincere, modestly intriguing biopic with excellent period piece production values and solid performances by Irons and Patel. In many regards, the film’s narrative and subject matter are somewhat reminiscent of “The Theory of Everything” (2014), effectively exploring a great mind’s attempts at overcoming obstacles in the fulfillment of one’s life purpose. The picture’s spiritual and metaphysical undertones are quite engaging, helping to elevate a story that, without them, might have otherwise been unendurably dull.

However, despite these strengths, the film comes up a little short on other fronts. Its depictions of the protagonist’s personal life – particularly his relationship with his wife (Devika Bhise), who remains in India while on his years-long journey to England – and of the impact of World War I on Ramanujan’s life at Cambridge are under-developed, their inclusion feeling more historically obligatory than meaningful and relevant. What’s more, while it’s easy to appreciate the twin collaborators’ passion for their work, the narrative is a little thin when it comes to explaining its importance, which may leave some viewers wondering why they should care about it. Shoring up these aspects of the story would have made for a better, more focused movie.

Living up to our potential is something most of us hope to do, and those who have a built-in understanding of what that entails have a distinct advantage. But knowing how to fulfill it is key, and appreciating the role of conscious creation can prove crucial, allowing us, like Ramanujan, to reach for infinity – and beyond.

Upon reaching a certain age, many of us may be tempted to settle in for the home stretch, getting comfortable while waiting for the inevitable end to come. But is that enough? Even though physical and financial limitations and personal fears might seem like impediments, should they be allowed to keep us from living life to the fullest, especially when the clock is running short? That’s the question for all concerned in the delightful new comedy sequel, “The Second Best Exotic Marigold Hotel.”

This followup to the delightful 2011 comedy presents the continuing adventures of a group of British retirees and other colorful characters living in the Best Exotic Marigold Hotel for the Elderly and Beautiful in Jaipur, India:

The once-crumbling establishment, the brainchild of vivacious hotelier Sonny Kapoor (Dev Patel), has somehow stabilized its operations, thanks in large part to the invaluable assistance of manager and permanent resident Muriel Donnelly (Maggie Smith). In fact, with the hotel’s rooms nearly always full, Sonny is now looking to expand his holdings by acquiring another property for renovation, the first in a hoped-for chain of comparable facilities. Sonny and Muriel seek backing from an American franchising company headed by Ty Burley (David Strathairn), but the prospective investor says his final decision will depend on the recommendations of an undercover inspector he’ll send to check out the operation.

For Evelyn Greenslade (Judi Dench), a widowed housewife who was forced into selling her residence back in England to pay a backlog of debts left by her deceased husband, life has taken some interesting twists and turns since relocating. She’s landed a job as a textile buyer, and she’s quietly taken a liking to fellow resident Douglas Ainslie (Billy Nighy), a retired civil servant and local tour guide. There’s just one problem: Douglas is married. And, even though he’s separated from his wife, Douglas is reluctant to pursue a relationship with Evelyn, especially when his estranged spouse, Jean (Penelope Wilton), who had previously returned to England, makes a surprise appearance. With the years running short, will Evelyn and Douglas allow their fears to keep them locked in place, or will they follow their hearts and move ahead? And why has Jean suddenly reappeared? What does she want?

Onetime spunky skirt-chaser Norman Cousins (Ronald Pickup) has taken up residence with his new significant other, Carol Parr (Diana Hardcastle). But, despite Norman’s efforts to remain faithful, the old urges continue to surface. Will he be able to stifle his impulses, or will he give license to his feelings? And what exactly do these feelings entail? He has much to think about, especially when a variety of unexpected revelations come to light.

Madge Hardcastle (Celia Imrie) enjoys the freedom her relocation has afforded her. Having once been saddled with numerous demands on her time, such as frequent requests for babysitting her young grandchildren, Madge relishes her job at a local ex-patriot club and the attention she receives from two would-be wealthy suitors, Nimish (Avijit Dutt) and Abhilash (Atul Tiwari). But, even with these changes in her life, she still senses something is missing, feelings she quietly tries to sort out with her driver, Babul (Rajesh Tailang). Maybe Madge isn’t done making changes yet.

These stories play out against the backdrop of several other events that affect all of the residents. In addition to

pursuing his operation’s expansion plans, Sonny is preparing for his upcoming wedding to his fiancé, Sunaina (Tina Desai). His attention from the big event is often distracted, however, by the meddling of his often-overbearing mother (Lillete Dubey). He’s also suspicious that a suave interloper, Kushal (Shazad Latif), a friend of Sunaina’s brother, has eyes for his bride-to-be. Sonny believes he has reason to be worried about this, too, especially when it becomes apparent that Kushal could be undermining his business plans.

Compounding all this is the appearance of two mystery guests who arrive unannounced. When American Guy Chambers (Richard Gere) checks in, Sonny immediately suspects he’s the undercover hotel inspector Mr. Burley spoke of. Chambers insists he’s a writer conducting research for a book, but Sonny believes that’s a cover story. Sonny thus goes out of his way to show his guest every courtesy, even if it means routinely inconveniencing the other new arrival, Lavinia Beech (Tamsin Greig). In fact, there’s almost nothing Sonny won’t do to win over his guest, something that earns the consternation of his mother, appalls Lavinia and raises the eyebrows of virtually everyone else, all of whom believe Sonny’s wrongheaded actions make him look foolish. It remains to be seen who has the last laugh, however, both in this and all of the other scenarios as they play out.

As this film’s predecessor so aptly illustrated, we’re never too old for an adventure or a new beginning. Indeed, as the old adage maintains, as one door closes, another opens. But, given the magnitude of the changes these characters implemented for themselves in the original film, some of them wonder about the necessity or prudence of making even more alterations in the wake of their relocation. Wasn’t that change enough in itself? Or was that just the beginning? And are they up to the challenge of making more adjustments?

Those familiar with conscious creation philosophy understand that we’re all in a constant state of becoming, our realities ever shifting in line with the ebbs and flows in the beliefs we employ to manifest the existence we experience. So, considering that, why would this principle cease to operate just because we’re getting on in years? Age, in fact, has nothing to do with interrupting this process unless we purposely draw upon beliefs that impose such a state of affairs upon us. Is that what we really want?

If anything, it would seem that keeping an open mind about change is especially important for those nearing the ends of their temporal journeys. With the biggest adventure of all looming, maintaining such a mindset could prove highly beneficial in preparing for that grandest of odysseys. That’s something all of the Marigold Hotel residents must contend with to one degree or another, and how they respond will affect the satisfaction and fulfillment they realize.

In tackling this task, it’s particularly crucial that we address an important consideration – our fears. Failure to do so can lead to stagnation, lost opportunities and regrets. This is true for both young and old, as the film illustrates, but it’s especially critical for those of advancing age. With the end of life approaching, they must ask themselves questions like “How many more chances have I got?” and “Do I really want the journey to end without having acted on impulses near and dear to me?” This is perhaps most obvious in the story line involving Evelyn and Douglas, but it’s apparent in virtually every other subplot in the picture’s narrative.

So how exactly do we go about this? One especially helpful tactic is to follow our intuition, because it gives us clues

about how to proceed. All too often, though, we dismiss it out of hand, believing that its seemingly “illogical” impressions make no sense and that it will ultimately work against us. Yet nothing could be further from the truth. As one of the components aimed at helping us refine our beliefs, our intuition is a valuable source of guidance, and it would behoove us to listen to it.

We see this theme recur repeatedly in the film, especially in Madge’s story. Her choices regarding a suitor might “seem” evident, but are they really? If they were truly so obvious, then why does she have this nagging sense that something is missing from her options? And, in line with that, should she listen to those impressions, or are they just irrelevant nonsense percolating up in her consciousness? This is something only she can sort out, but, if she follows her heart, she just might find a very pleasant surprise awaiting her at the end of her deliberation.

Of course, in drawing upon these intuitional impulses, we must be careful not to let them become tainted by considerations like fear or doubt, as they can distort the information that’s trying to come through. This is territory where Sonny must tread cautiously. He claims to have a nose for sniffing out the truth, and he’s often spot-on in his assessments. But, on occasion, he lets his apprehensions get the better of him, giving him a skewed interpretation of his circumstances. Sometimes this can be chalked up to the inexperience of youth, a “shortcoming” that gets fine-tuned with age. All of which helps to illustrate why tapping into our intuition grows even more important as we grow older. Making use of it just might help infuse the gold into what should be our golden years.

“The Second Best Exotic Marigold Hotel” does what a good sequel should do – continue the story without rehashing the original, despite the presence of familiar elements and characters. It also improves upon its predecessor by doing a better job of meshing the interaction of the characters, something that was somewhat lacking in the original. This can be attributed to the picture’s generally thoughtful writing, though a few of its story threads are silly, with plot lines involving overblown misunderstandings rivaling episodes of Three’s Company. The acting of the ensemble cast is generally good across the board (especially Smith and Wilton), though some of it is clearly overdone (most notably Patel, whose infectious effervescence could clearly use some tempering). The picture also features an impressive Bollywood-style dance number, an ethereal soundtrack, and beautiful depictions of local color and culture.

It’s been said that “When we rest, we rust.” This expression is most often used in connection with retirement, but it’s just as applicable to all of us in our conscious creation practices. If we were to allow this capability to atrophy, we would quickly find life a lot less interesting and immeasurably less fulfilling. And, given our finite time in this reality, let’s hope we never let things get to that point.

Madame Mallory (Helen Mirren), owner of an acclaimed upscale French bistro, struggles to keep a smile on her face with the unexpected arrival of new neighbors whom she believes will threaten her establishment’s reputation in director Lasse Halström’s new comedy-drama, “The Hundred-Foot Journey.” Photo by François Duhamel, courtesy of Walt Disney Studios Motion Pictures USA.

When we embark on the journeys of our lives, we seldom know what awaits us. Yet, if we leave ourselves open to the range of possible experiences available, we enable the potential for a wealth of rewarding and wondrous opportunities for creative fulfillment, many of which are unexpected yet ever so satisfying. Such are the sorts of personal odysseys profiled in the entertaining new comedy-drama, “The Hundred-Foot Journey.”

When an attacking mob destroys the Mumbai restaurant owned by the Kadam family, they lose everything they’ve worked for. But, if that weren’t tragic enough, their grief is magnified by the loss of the family matriarch (Juhi Chawla), who is killed during the incident. With their lives shattered, the Kadams emigrate from India to Europe in search of a fresh start. Leading the way is the family patriarch (Om Puri), who is accompanied by his five children and lovingly guided by the spirit of his departed wife.

The family journeys to the continent not only to search for a new home, but also a suitable location for a new restaurant, continuing the long-standing family tradition. Papa Kadam is eager to open an eatery that showcases the culinary skills of his son, Hassan (Manish Dayal), who has been an ardent devotee of cooking since he was a child (Rohan Chand). But, despite these noble ambitions, the family’s quest is initially fraught with pitfalls, and frustrations quickly mount. However, just as everything seems to be falling apart once again, synchronicity steps in to lend an unexpected hand.

While motoring through rural France, a nearly devastating traffic accident lands the family in the small town of Saint-Antonin-Noble-Val, a village that’s destined to become their new home. With the aid of a beautiful young Samaritan named Marguerite (Charlotte Le Bon), the Kadams are welcomed and cared for in their time of need. And, as they await completion of repairs on their vehicle, they stumble upon the ideal location for their new restaurant, a run-down but otherwise-beautiful country estate. Papa sees the potential of this location, despite the protests of his children, and decides to buy the property.

As the villa undergoes renovation, everything seems to proceed well – that is, until the family meets their neighbor, Madame Mallory (Helen Mirren). As the owner of Le Saule Pleurer, an elegant Michelin-rated bistro, Mme. Mallory condescendingly stares down her nose at the new arrivals, especially when she learns of their plans to open a restaurant of their own. Even though the Kadams’ cuisine does not compete with that of their upscale neighbor, Mme. Mallory is sufficiently appalled at the prospect of a noisy, “unrefined” establishment opening up a mere 100 feet away, fearing it will offend her patrons and jeopardize her acclaimed rating.

Once the Maison Mumbai opens, a gastronomic feud ensues, and the flames of this comical dispute are fanned in myriad ways. Tensions rise as circumstances grow progressively more complicated, too, such as when Mme. Mallory’s sous chef – Marguerite – begins fraternizing with the staff of her next-door nemesis. Or when the feuding restaurateurs try to undermine one another by monopolizing the supplies available from local food purveyors. Or when Mme. Mallory is unexpectedly shocked at the extent of Hassan’s kitchen talents. Matters spiral so out of control that even the mayor (Michel Blanc) is called upon to intervene in the culinary quarrel.

But, all roguish gamesmanship aside, the playfully spirited conflict eventually takes an ugly turn, and neither combatant is responsible for the resulting ruin. With the nature of the situation changed, the feuding parties need to adopt a new stance, one aimed at resolving the dispute and taking steps that benefit them both. And, in devising a workable solution, the warring factions ultimately steer the course of events in a surprising new direction, one that proves a winner for all involved.

The mere fact that this film’s title includes the word “journey” implies that its characters partake in an odyssey of sorts, one that

inherently includes a rich and diverse array of experiences. As participants in this trek, they’re bound to be affected and changed by what they undergo. This, in turn, fosters their personal evolution, one of the cornerstone principles of conscious creation philosophy, the means by which we shape the reality we each experience. They thereby reflect the conscious creation notion that we’re far from static beings, that we’re each in a constant state of becoming.

Indeed, as the film’s characters make their way through the story, they transform, becoming different people from whom they were when they first embarked on their journeys. And the evolutionary changes they experience occur in many ways, both outwardly in the physical existence of which they’re a part and inwardly in the realm of their being. Their thoughts, beliefs and intents, the means by which they manifest the reality that surrounds them, take them down new, untried, unexplored avenues of possibility. In many respects, they truly embody these principles in their most basic expression. Metaphorically speaking, they clearly journey much farther than the 100 feet the picture’s title suggests.

In doing so, the characters immerse themselves in experiences involving other significant conscious creation concepts. For instance, they learn valuable lessons related to the intrinsic connectedness of all things. Despite the protagonists’ preconceived notions of everyone and everything being separate and apart from one another, they come to realize through the circumstances they materialize that “they’re all in this together.” When confronted with challenges that threaten their collective well-being, they quickly understand that everyone benefits from a spirit of cooperation rather than competition, a belief that speaks to the innate connectedness that binds them to one another. A change in attitude in this regard leads to creations – and solutions – not previously considered, remedies that ultimately advance everyone’s interests. They discover that drawing upon our intrinsic sense of connection and collaboration pays better dividends for everybody than thoughtlessly pursuing aims driven by conflict, ego, bragging rights or other self-serving considerations.

The parties also come to understand the role of synchronicity in the unfolding of their creative journeys. This fortuitous phenomenon often greases the wheels of our evolution, even if it doesn’t always seem that way. The family’s initial tragedy, their subsequent traffic accident and the unforeseen malice later inflicted upon them all may seem like cruel, capricious twists of fate destined to yield demoralizing setbacks. Yet, in each case, the devastation ends up taking circumstances in surprisingly favorable directions.

The trick in making effective use of synchronicity is being cognizant of its occurrence. Rather than curse the heavens, we’d be wise in such situations to ask ourselves, “Why did this happen?” In fact, to make even more effective use of it, we’d serve ourselves well to put it in a conscious creation context by asking ourselves, “So why did I create these conditions?” and “What beliefs are driving these circumstances?” Once we do this, we have an opportunity to uncover the pearl in the metaphysical oyster.

Of course, this also begs us to become awake and aware of how our reality comes into being and what we do specifically to make that happen. It compels us to draw upon all of our perceptive abilities and all of the elements that we employ in the manifestation process, especially our intuition. This is something Papa Kadam is acutely aware of, especially in his seemingly unconventional communications with his departed wife. But such exceptional contact always pays off, resulting in insights that lead to constructive outcomes. One would hope that his example rubs off on others, too – including us.

The biggest payoff that arises from all these realizations is a deeper understanding of the joy and power of creation. The fulfillment that comes from the simple act of manifesting our desires assumes an exalted position of prominence in the consciousness and sensibilities of those working their materialization magic. This is perhaps most obvious in the experience of Hassan, whose lifelong passion takes quantum leaps in advancement when he taps into the conditions that make such progress possible. His experience provides him with a tremendous sense of personal satisfaction – and an inspiring example for all of us to draw upon.

In driving home this point, the film aptly illustrates how unbridled joy can come from a comparatively simple act like cooking, something many of us may take for granted as an everyday mundane task. Yet “The Hundred-Foot Journey” elevates the commonplace to an art form, one to be savored in every respect, from its inception to its completion and eventual consumption. Indeed, the kitchen is an arena that has received considerable attention in this regard in recent years, both in the plethora of television shows celebrating the subject, as well as in a number of other theatrical film releases, including “Chef” (2014), “Le Chef” (2014) and “Haute Cuisine” (2013). But, then, all of these offerings applaud something that nourishes us, just as the conscious creation process itself does.

“The Hundred-Foot Journey” is fairly typical fare from director Lasse Halström, a mildly entertaining melodrama that satisfies nicely, like a good, home-cooked meal. The picture’s luscious cinematography and capable acting are sure to please, despite the film’s need for some judicious editing and its tendencies toward schmaltzy predictability. But these shortcomings are nonetheless compensated for by Mirren’s deliciously wicked performance and the movie’s many exquisite culinary and landscape shots. In short, if you go in without high expectations about this film, you won’t be disappointed.

Our personal creative odysseys often take us in directions we don’t see coming, but those experiences also open us up to parts of ourselves we know little about or never knew existed. That allows our true selves and untapped potential to emerge, making it possible to fulfill ourselves in ways we never dreamed of. And, under such tantalizing circumstances, who knows what we might cook up.

A New York City billboard is one of many intriguing synchronicities responsible for drawing together separated lovers in the captivating new sci-fi romance, “I Origins.” Photo courtesy of Fox Searchlight Pictures.

The relationship between science and spirit is an often-precarious one. Each of these metaphysical dance partners tries to lead or sometimes even dominate the steps they take together. But, considering it takes two to tango, they need to collaborate and achieve a proper balance if they’re to work together successfully in creating the reality we experience. That elaborate, intertwined footwork is the subject of an intriguing new science fiction release, “I Origins.”

Many of us believe that “the eyes are the window to the soul.” But, for Dr. Ian Gray (Michael Pitt), a molecular biologist, they’re the key to scientific proof of evolution. The New York City grad student believes that, if it’s possible to conclusively document that contention, it would not only prove the theory, but it would also finally, and definitively, put an end to what he considers the childish, nonsensical notions of the nature of existence put forth by religion and spirituality. In essence, he’s out to disprove the notion of intelligent design, a conclusion that would, for all practical purposes, make God irrelevant.

Ian’s study focuses on eyes, because he believes they’re the piece of the evolutionary puzzle that’s missing to irrefutably prove the theory. He’s fascinated by their unique character and takes countless photos of the irises of innumerable subjects, known and unknown, to further his research. With the aid of two colleagues, first-year research assistant Karen (Brit Marling) and fellow grad student Kenny (Steven Yeun), he diligently pursues his investigation into this singular marker of one’s being. And, despite his obviously passionate obsession with the topic, he nevertheless takes a scrupulously dispassionate approach to his work, summarily eschewing any considerations that are even remotely unscientific.

That all goes out the window, however, when Ian meets a beguiling woman at a Halloween party. They share a brief encounter, including one of his ocular photo sessions, but they quickly part ways. Yet, despite the brevity of this seemingly chance meeting, Ian can’t put her out of his mind, and, before long, they’re reunited through a series of undeniable synchronicities that even he can’t dismiss. Ian subsequently gets to know this mystery woman, a cosmetics model named Sofi (Astrid Bergès-Frisbey), and soon falls in love with her – her fascination with, and faith in, the supernatural notwithstanding.

Sofi is especially interested in reincarnation. She believes she and Ian have known one another before and will know one another

again, their souls being drawn together by the same kinds of synchronicities that fortuitously reunited them in this life. For his part, Ian looks upon Sofi’s ideas as simple and naïve, but, because he cares for her so deeply, he’s willing to humor her. Besides, it’s something he’ll have to get used to, particularly once they’re married.

The marriage, however, never takes place due to a tragic accident. Ian is devastated by Sofi’s loss, but he takes comfort in the arms of Karen, who sees him through his grief. In fact, they eventually fall in love and marry. Through his work and this new relationship, Ian is able to heal, and, seven years later, he becomes a respected expert, a published author and a father-to-be.

On the surface, life is good – or so it would seem. But, when fond memories of Sofi resurface, a new string of intriguing synchronicities begins to unfold, leading Ian and Karen down a path neither of them could have foreseen. Through a series of captivating twists and turns, Ian embarks on a journey of discovery that takes him from his Connecticut home to a dairy farm in Idaho and a community center in India. These experiences, coupled with unexpected interactions with a high-ranking research scientist (Cara Seymour), a community activist (Archie Panjabi), a missionary businessman (William Mapother) and a young orphan girl (Kashish), spur revelations that hold the potential to radically challenge Ian’s beliefs – and his prevailing worldview.

As any conscious creation practitioner knows, the process is based on the beliefs we draw upon to manifest the reality we experience. Those beliefs form as a result of the input provided by our intellect and intuition, attributes correlative to the disciplines of science and spirit, the primary themes explored in this film. And, as noted earlier, striking a balance between the two is crucial to make the practice work effectively. Indeed, refusing to acknowledge the functioning or existence of either component provides a skewed and often-bewildering impression of how things work.

This is a challenge Ian obviously must come to terms with. His stubborn denial of the spirit world hampers his progress in making use of conscious creation, not to mention his understanding of how his reality comes into being. His resolve is so strong that he’s reluctant to acknowledge the influence of the metaphysical, even when it impacts him directly. He demands extraordinary proof of these concepts before he’ll even consider them. But, thankfully, for his sake, he’s also unwittingly adept at manifesting such proof just when he needs it most.

Sofi plays a key role in helping to make Ian aware of these ideas. She makes a particularly convincing argument when she asserts that all creatures perceive their reality based on whatever sensory capabilities they’ve created for themselves. She observes, for instance, that worms, the subject of one of Ian’s evolution experiments, perceive their world with only two senses, smell and touch. Humans, by contrast, generally assess their existence with the benefit of the five senses we all know. However, Sofi suggests, what if some of us have developed additional sensory capabilities that go beyond the basic five faculties most of us possess? Are such individuals to be dismissed for having a sixth sense? We would never fault the worms for having only two senses, so why should we assume that the five senses we’re familiar with are the maximum we’re capable of materializing?

Ian, of course, yet again demands proof of such a contention, but, Sofi counters, how can we produce proof for something that someone with lesser capabilities isn’t even capable of comprehending in the first place? How could a worm, with no eyes, comprehend a concept like light? Yet light, as we all know, is a phenomenon that exists, one we perceive with our sense of sight, and we would never consider denying its existence The lack of “proof” of an extraordinary sense to someone lacking it, she asserts, doesn’t mean the faculty doesn’t exist; it just can’t be substantiated by conventional means.

To further bolster her metaphysical contentions, Sofi points to the synchronicities that reunited them. She knows that he’s aware of them on some level and that they quietly captivate him. Which is why it also puzzles her that he’s unwilling to embrace them. Their significance has been clearly demonstrated to him, so doesn’t that constitute the kind of “proof” he seeks? Why, she wonders, would scientific proof be considered valid but metaphysical proof isn’t? Is it because metaphysical proof can’t readily be replicated? Or is it another case of just plain stubbornness?

Synchronicities are significant, because they shed light on the inherent connectedness of all things in the Universe. This is an integral component of conscious creation philosophy. But it’s also a key consideration in quantum physics, conscious creation’s scientific cousin. The principle of quantum entanglement, for example, implies an innate connection between anything and everything, and synchronicities lend credence to the validity of this notion. Indeed, if related quantum elements can exist across the span of space (as Ian’s and Sofi’s experience suggests), what’s to say that they also couldn’t exist across the span of time (as Sofi’s reincarnational beliefs propose)? Once again, Ian demands proof of this notion, and, one would think that, as a scientist, he should readily be able to recognize such evidence when it appears. And, if materializing proof of such ideas is so important to him, one can only begin to imagine how amazed he will be if he’s actually able to achieve that. Sofi would undoubtedly take it all in stride, but, for Ian, it would be quite a revelation, to be sure.

“I Origins” is an intriguing film that effectively weaves together elements of science fiction and interpersonal relationships, much

After a series of unexpected interactions, such as an encounter with an Indian community center worker (Archie Panjabi, right), molecular biologist Dr. Ian Gray (Michael Pitt, left) is on the verge of an earth-shattering discovery in director Mike Cahill’s “I Origins.” Photo courtesy of Fox Searchlight Pictures.

like Cahill’s previous offering, “Another Earth” (2011). The story is solid and engaging, exploring its heady themes with sublime elegance. Admittedly, the writing is a bit too technical at times, the pacing is a little slow at the outset and some of the picture’s attempts at humor don’t always work. However, the overall narrative is captivating and generally well presented, providing viewers with much to ponder about the nature of existence and what makes it work.

The dance of life – both in its current form and across the ages – is a wondrous creation in all its various permutations. We’d serve ourselves well by enjoying – and embracing – all it has to offer. But, to do that, we must leave ourselves open to all of the metaphysical resources at our disposal. Cutting ourselves off from the elements available to us only harms us in the long run, robbing us of the opportunity to show off what we’re really capable of achieving on that Universal dance floor.

Just when we think we’ve attained the satisfaction we want out of life, we sometimes come to realize that what we’ve manifested is not what we really desire. But what do we do then? Do we chance making a change to something different? But, if that doesn’t live up to our expectations, then what? Would it be safer to hold on to what we know, simply because it’s comfortable and familiar, even if it’s unsatisfying? Or would that kind of settling leave us even more unhappy in the long run? Those are just some of the questions raised in the delightful new comedy-drama from India, “The Lunchbox” (“Dabba”).

Lunchtime in Mumbai wouldn’t happen if it weren’t for the city’s dabbawallahs, delivery people who transport freshly prepared meals in cylindrical, compartmentalized lunchboxes (dabbas) from homes or restaurants to hungry office workers and return the empty containers to their sources later the same day. And, considering the huge volume of meals shipped by train and bicycle every workday, the dabbawallahs have a remarkable track record for accuracy and timeliness, something in which they take tremendous pride. But, every so often, something goes awry – which ultimately may not be an entirely bad thing, either.

Such is what happens to Ila (Nimrat Kaur), a lonely young mother and housewife who has trouble getting the attention of her preoccupied husband, Rajeev (Nakul Vaid). She tries everything, too, routinely consulting her upstairs neighbor, Auntie Deshpande (Bharati Achrekar), for advice. Ila is especially hopeful that following the time-honored adage “the way to a man’s heart is through his stomach” will prove successful, and, to that end, she tries out a variety of delectable recipes when preparing Rajeev’s lunch for delivery each day. But, when she doesn’t get the response she’s looking for, she’s seriously disappointed – that is, until Ila discovers that her dabbawallah(Sadashiv Kondaji Pokarkar) has been delivering Rajeev’s lunchbox to the wrong recipient.

And who has been getting the erroneous lunch deliveries? That would be Saajan Fernandes (Irrfan Khan), a lonely office worker who’s nearing retirement. Having lost his wife some time ago, there’s not much that gives him joy. He feels reconciled to a bleak

Ila (Nimrat Kaur), a housewife ignored by her husband, has her spirits lifted when she receives a note of gratitude for her culinary skills from a stranger, in director Ritesh Batra’s debut feature, “The Lunchbox.” Photo by Michael Simmonds, courtesy of Sony Pictures Classics.

future, a prospect that has made him a man of few words (and most of which consist of curmudgeonly utterances at that). But that begins to change one day when he receives a delicious lunch that he wasn’t expecting. The restaurant from which he typically orders his food generally doesn’t make dishes that tasty, so, when he learns that the meals aren’t coming from there, he feels compelled to thank the mystery chef. He decides to place a note of gratitude in the empty lunchbox when it’s returned, a development that both startles – and pleases – its unsuspecting recipient.

Ila is touched by Saajan’s note, so much so that she decides to write back, thus initiating what becomes an extended exchange of messages. The unlikely pen pals engage in an unusual but intimate correspondence, sharing heartfelt details of their lives, loves and losses. They develop a profound bond, one with the potential for more than just friendly dialogue. It’s a relationship with the promise of new beginnings – as long as Ila and Saajan will allow it.

Anyone who has ever experienced the blessings that come with a cloud revealing its silver lining can appreciate the hidden benefits that arise from this story’s misdirected lunchbox deliveries. While some might view situations like the initial delivery “error” with frustration or anger, those who have the patience and open-mindedness to see what comes of them are often rewarded beyond expectations. Such “mistakes” frequently lead to the revelation of fortuitous synchronicities, events or connections that make beneficial, perhaps even miraculous developments possible.

That’s certainly the case with Ila and Sajaan. Ila is initially disappointed that her culinary efforts didn’t result in pleasing Rajeev, but she is nevertheless pleasantly surprised when she learns of Sajaan’s sincere appreciation. Likewise, Sajaan is perplexed at the arrival of his mystery lunch, but, when he sees what comes of it, he gets more than a full stomach; he also gets a new friend and a new outlook on his life, a perspective that gives him renewed purpose in an otherwise-dismal existence. Their experiences clearly reflect the wisdom imparted by Sajaan’s new office protégé, Aslam Shaikh (Nawazuddin Siddiqui), who cheerily observes, “Sometimes the wrong train will get you to the right station.”

Sajaan Fernandes (Irrfan Khan, right), a lonely office worker nearing retirement with few prospects for the future, has a change in his outlook thanks to the happy-go-lucky attitude of his protégé, Aslam Shaikh (Nawazuddin Siddiqui, left), in “The Lunchbox.” Photo by Michael Simmonds, courtesy of Sony Pictures Classics.

So why do these “wrong” trains show up in our lives? As conscious creation practitioners well know, the reality we experience stems from the beliefs we hold. And sometimes we hold onto those beliefs a little too long, with some even hanging on well past the point of their usefulness. On some level, we may realize they no longer serve us, but we nevertheless clutch them tightly simply because they’re familiar and known, even if displeasing, an option that many of us prefer to the uncertainty of the unknown and untried. So, to move beyond these circumstances, sometimes we need to concoct conditions that seemingly force our hand, compelling us to take action to get out of situations that no longer work to our benefit. These unexpected developments usually take us by surprise, but they nearly always get our attention, prompting us to scrutinize our prevailing reality. Such assessments and realizations often hit us like a ton of bricks, causing us to acknowledge the insufficiency of what we’ve created and subsequently launching us into embracing new beliefs for manifesting a more fulfilling existence.

Again, Ila and Sajaan both know that their lives are no longer working, but they’re reluctant to take action for fear of what the consequences might be. However, they also realize that, without doing something, they’re saddling themselves with lives of perpetual discontent. So, on some level, they decide to rewrite the beliefs responsible for materializing their respective realities, and they make it seem like their new circumstances are taking them totally by surprise, a move assured to get their attention (and, one hopes, to encourage them to take action to change things).

Ideally, it would be to our benefit if we could initiate such changes consciously, with clear, open minds and full awareness of the beliefs driving our manifestations. However, until we reach a point in our personal growth and development where we’re comfortable with doing that, this “backhanded” approach may be the best option available to us. But, as long as it helps get us to where we inherently know we ought to be, then it probably should suffice, at least for now.

These kinds of scenarios also draw attention to several principles that are integral to the conscious creation process, namely, the importance of the power of choice, change and connection. For instance, given the evolution of Ila’s and Sajaan’s outlooks, it becomes apparent that happiness and contentment clearly are choices, options that they must each choose to implement in their lives through the particular beliefs they hold. They each have examples to draw from in this regard, too. Ila, for instance, witnesses the sadness that can permeate one’s life by looking at the experiences of her mother (Lillete Dubey) and of Auntie, both of whom have allowed themselves to become chained to marriages to ill husbands and lives of little fulfillment. In a similar vein, Sajaan has experienced comparable circumstances of his own, so he’s well aware of the sadness that can come to characterize one’s life. But, fortunately, he also has an inspiring example to draw from, one that runs counter to those conditions – that of his happy-go-lucky co-worker Mr. Shaikh and his fiancée Mehrunnisa (Shruti Bapna). The young couple is just starting out, and they face their share of challenges, but they also approach their lives with a joyous attitude, purposely choosing to be happy. So, Sajaan comes to realize that, if they can do that, then so can he, an outlook that, by extension, rubs off on Ila, too.

The element of change runs throughout the film’s narrative as well. In fact, in many ways, it’s at the core of Ila’s and Sajaan’s story. Of course, as alluded to earlier, change won’t happen unless the protagonists are willing to allow it in their lives. And, given their circumstances, it would seem to be in their best interests for them to do so. After all, with an infinite range of probabilities always available to them, the change to something new (and, one would hope, preferable) is just a belief away. This is especially crucial for Ila, particularly when she learns the real reason why Rajeev is so distracted.

Connection is apparent in many ways also, especially in light of the “unplanned” synchronicities that unfold. No matter how seemingly unrelated the elements of one’s reality might appear, they’re nevertheless innately connected. All it takes is the right mix of beliefs to activate them and bring them into being. Where Ila and Sajaan are concerned, they should be grateful for the “mistakes” made by their dabbawallah (and give themselves a big pat on the back for coming up with suitable beliefs that helped make such “errors” possible).

“The Lunchbox” is a charming, touching, sometimes-bittersweet crowd-pleaser that’s infused with a balanced mix of both joy and melancholy. The picture is smartly written, beautifully filmed and superbly acted. Khan and Kaur are particularly noteworthy for their nuanced performances, often getting as much out of a facial expression as they do from any of the lines they deliver. Admittedly, the film’s subplots sometimes detract a bit from the main storyline, but the themes they explore also help to reinforce those of the main narrative. Writer-director Ritesh Batra has come up with a fine offering in his debut feature, one of the spring movie season’s most pleasant surprises and one that’s well worth a look.

The search for happiness often takes some unexpected turns, but, when the unanticipated joy that comes from them becomes apparent, the sense of elation is frequently heightened. What a pleasant surprise that can be! So, the next time you find yourself on one of those unfamiliar trains, ride it out to its destination. It may just be the very station you’re looking for.

When you hear the word tantra, what images or thoughts come to mind? For some, it is the Kama Sutra, which according to www.thefreedictionary.com is ” A Sanskrit treatise setting forth rules for sensuous and sensual pleasure, love, and marriage in accordance with Hindu law.” At its core, tantra which I have seen defined as “expansive weaving” (as on a loom) is about our connection with Spirit; not just as a means of heightened sexual pleasure, but perhaps enlightened sexual pleasure. It is, I have discovered myself since I dipped my toes (and other body parts) into it in 2004, a way of making love with the Divine in all aspects of my life, not just in the bedroom.

My introduction occurred at a weekend workshop I attended following being widowed 5 years earlier. I had been celibate by choice, for many reasons, some having to do with re-calibrating my body, heart and soul to prepare for opening again after a loving and sometimes tumultuous marriage, illness and subsequent death of my husband. I had been vaguely familiar with the concepts of yoga, meditation, the chakra system, breathwork, mantra and kirtan. Little did I know the massive changes that would rock my world when I learned about what author and tantra teacher Mahasatvaa Ma Ananda Sarita, Ph.D author of Divine Sexuality-The Joy of Tantra refers to as “an alchemical transformation of our being.” Once the energies were unleashed, I experienced what is known as a ‘spontaneous kundalini awakening’; feeling as if all of the chakras were blown wide open and for 8 months afterward, had difficulty figuratively keeping my feet on terra firma. I remember speaking with friends about what I was going through and the suggestions ranged from drinking more water, walking barefoot, sitting on a rock and sending energy into it, to doing more yoga and having more sex. “That’s what got me into this in the first place,” I half-heartedly wailed with a not-so-secret smile on my face.

I wish I had had Sarita’s book back then, since it is a thorough compendium of the physical, emotional, spiritual and developmental aspects of tantra. Well researched; it doesn’t dance on the surface. Beautifully lush images of lovemaking embellish the pages, but it is not even remotely ‘soft porn’; rather it is art of the heart. She covers a wide range of subjects including honoring ourselves as the physical beings we are- men and women, as well as masculine and feminine energies, safe sex and contraception, creative coitus, rising in love, sensory awakening, aligning with the Divine, sexual dysfunction as well as sexuality through the life cycle. The pages seem to radiate with light and the texture is smooth to the touch; adding to the delight of reading.

Sarita was inspired to teach this ancient art after an encounter in Inida with a man who would become her guru. Osho (Bhagwan Shree Rajneesh) opened the door for her lifelong journey into tantra. For 36 years, this seasoned woman has danced on the path of love and loss, ecstacy and enlightment. She will be my next guest on It’s All About Relationships this Thursday March 14th from 8-9 pm on Vivid Life Radio. You are welcome to call in with your questions. 877-903-1396 is the number to speak with us.

To enjoy a teaser, please read the book review I wrote for Elephant Journal:

Facing the autumn of one’s life can be challenging in many ways. Coming to terms with the realities of having fewer, rather than more, years ahead, as well as the increasingly debilitating effects of age, are daunting enough. But what if the means to live out those remaining days in comfort are in peril, too? This combination of elements might seem deflating or overwhelming to some, but, with one’s independence, dignity and survival at stake, the more adventurous and innovative among us may elect to take some extraordinary, uncharacteristic or even drastic measures to make the most of those circumstances, as seen in the delightful new comedy, “The Best Exotic Marigold Hotel.”

With retirement looming, seven British seniors weigh their options for what lies ahead:

* For Evelyn Greenslade (Judi Dench), the golden years look a lot bleaker than she had once anticipated. The lifelong, recently widowed housewife is forced into selling her residence to pay a backlog of debts left by her deceased husband, saddling her with a very uncertain future.

* Retired housekeeper Muriel Donnelly (Maggie Smith) needs hip replacement surgery but faces a six-month wait unless she’s willing to try something a little more radical – not an easy decision for someone very set in her ways and her outlooks.

* Bored with his career and his life, Judge Graham Dashwood (Tom Wilkinson) can no longer continue with an existence that leaves him unsatisfied and longing for something more fulfilling. His search for genuine happiness clearly requires more than what his current routine can provide.

* Career civil servants Jean and Douglas Ainslie (Penelope Wilton, Bill Nighy) approach retirement community living with mixed feelings. Jean believes she deserves something better than what’s on offer and doesn’t hesitate to make her dissatisfaction known. Douglas, meanwhile, tries to assuage her, agreeing to pursue other options if doing so will help keep the peace in their increasingly precarious relationship.

* Spunky skirt-chaser Norman Cousins (Ronald Pickup) feels like a spry 40-something, even if his chronological odometer indicates otherwise. Nevertheless, how he feels, and how others react to his advances, such as the actual 40-somethings he tries to court, are two entirely different matters. Maybe it’s time for Norman to turn his attention elsewhere.

* Madge Hardcastle (Celia Imrie) loves her family, but she tires of the demands they regularly place on her time, such as frequent requests for babysitting her young grandchildren. As someone who wants to enjoy life more in her remaining years, she yearns to take off and be a free spirit while she can – something she just might do.

Given their prevailing circumstances, the retirees each decide they need to pursue alternate paths. In doing so, they all stumble upon advertising for what seems to be the perfect solution to their respective situations – the Best Exotic Marigold Hotel for the Elderly and Beautiful. The ads for this affordable but luxurious facility promise its guests grand accommodations in a classic setting in the lively, colorful Indian city of Jaipur. Everyone jumps at the opportunity, making reservations to move into this elegant pleasure palace. But there’s just one catch: the hotel is nothing like what’s in its promotional materials. In fact, the decrepit structure is not far from collapsing, its walls propped up by assorted forms of jerry-rigging and the infectious, if sometimes-unrealistic enthusiasm of hotelier Sonny Kapoor (Dev Patel).

Sonny struggles incessantly to keep his faltering business afloat. He does all he can to appease his disgruntled guests, many of whom are ready to turn back upon arrival, and his overbearing mother (Lillette Dubey), who constantly criticizes Sonny, forever flaunting his brothers’ success in his face. He also strives to please his girlfriend, Sunaina (Tena Desae), an educated, upwardly mobile young woman whom he worries will leave him for someone more financially stable. It’s quite a full plate for the wily young entrepreneur.

But, thanks to a hefty dose of Sonny’s charm and the newfound friendships that spring up among the recent arrivals, the guests decide to stay. They thus embark on new journeys of personal discovery, some on their own and some by way of interactions with the hotel staff, the locals or each other. Their individual odysseys end up offering them possibilities for fresh starts unlike anything they could have possibly imagined before they left England.

At some point in our lives, fresh starts are welcome developments in the wake of unrelenting sameness, though, admittedly, embracing such changes can become more difficult for many of us as we age. As we allow the beliefs that shape our realities through the conscious creation process to settle in and become comfortable, we’re more likely to look askance at possible upheavals in our routines, summarily rejecting them even before examining what they have to offer. We might even try justifying our resistance with arguments like “we’re too old for this sort of thing.” But are fresh starts only meant to be the provenance of the young?

The very emergence of such manifestations indicates that there’s some part of us deep down inside that wants to usher change into our lives, no matter how old or young we are, but the more we resist those impulses, the more imposing, even threatening, they’re likely to appear in subsequent iterations. They may ultimately give rise to circumstances that appear as if change is being foisted upon us, with unwanted consequences and overwrought drama coming along for the ride.

Go-getter hotelier Sonny Kapoor (Dev Patel) welcomes his recently arrived English guests to their new Indian home in "The Best Exotic Marigold Hotel." Photo by Ishika Mohan, courtesy of Fox Searchlight Pictures.

Is this really how we want change to take hold in our lives? Must we become so dissatisfied with our situations that we allow ourselves to become ill, jaded or burned out before we’ll even consider making alterations to our existence? Do we truly want change crammed down our throats?

In many ways, this is where the guests of the Marigold Hotel find themselves at the film’s outset. They’re at the point where they’ve put off making change for so long that they now find themselves, metaphorically speaking, with their backs up against the proverbial wall. Their inner selves are telling them that change is imperative and that the only real decision they need to make is to choose how to react to the impending circumstances.

Many of us have come to fear change, that the disappearance of the familiar will leave us sad, disoriented or less well off than we’ve grown accustomed to being. But it need not be that way at all. Change just means doing something differently, and it doesn’t automatically equate to things being worse than they have been; it could indeed be the start of something far better than we could have possibly imagined but that we have not previously permitted to materialize. Allowing change of an especially positive nature can be truly life affirming, especially for those nearing the ends of their corporeal journeys. After all, as many of us have no doubt experienced, basking in the illuminated brilliance of sunny autumn days can be some of the most rewarding times of the year. The residents of the Marigold Hotel come to see this for themselves, once they’re willing to allow it to happen.

Conscious creation theorists like author Jane Roberts, speaking through her noncorporeal channeled entity, Seth, maintain that our lives are all about being in “a constant state of becoming.” Our lives, like those of the Marigold Hotel guests, truly are journeys, explorations of discovery and becoming who we were genuinely meant to be. To make the most of that experience, we would be wise to leave ourselves open to maximize the scope of our personal adventures, especially in the waning days of those expeditions. Let us hope that we all have the wisdom to make that possible for ourselves, to discover the joy that Evelyn, Muriel, Graham, Douglas, Jean, Norman and Madge find for themselves in their own respective adventures.

“The Best Exotic Marigold Hotel” is a charming release, full of life, vibrancy and gentle humor. Its exquisite cinematography and mesmerizing soundtrack combine to paint a lush portrait of an exotic land in all its beauty and all its challenges. The excellent ensemble cast blends well together, though the writing sometimes fails them when it comes to the degree of interaction the principal characters have with one another (even though they’re each following their own paths, it would have been nice to see those paths cross one another a little more than they do). The script also falls prey to a certain degree of predictability, but then that’s compensated for by an equal measure of surprise, offsetting that minor shortcoming.

The picture is already getting some Oscar buzz, though, realistically, I think it’s being released far too early in the year to be remembered by Academy voters later on. Nevertheless, if 2012 proves to be another weak year for movies, it could be a contender in some of the technical categories, as well as for some of the performances, particularly those turned in by Wilkinson, Nighy and, of course, Dench.

This picture serves as a valuable reminder that time passes in this life far faster than most of us often realize and that, because of that, we’d better make the most of it while we can, especially when the hourglass is running out. In life as in the movies, I’ve found that some of the most rewarding moments come toward the end of the picture. And to get the most out of them, it’s up to us to savor those times before the credits roll.

Retired housekeeper Muriel Donnelly (Maggie Smith) attempts to adjust to her new surroundings while recovering from hip replacement surgery in the delightful new comedy, "The Best Exotic Marigold Hotel." Photo by Ishika Mohan, courtesy of Fox Searchlight Pictures.

READ: Fresh starts showcased in the film ‘Marigold Hotel’ was last modified: May 11th, 2012 by Brent Marchant

Dave DeLuca is one of the West’s most passionate and highly regarded teachers of India’s ancient Vedanta yoga wisdom and the editor of Sacred Jewels of Yoga and Pathways to Joy. He speaks and presents workshops on spiritual growth at temples, churches, conferences and learning centers all over the United States. He lives in Irvine, California.

Julia Roberts (left) eats her way through Italy in the new metaphysical drama, "Eat Pray Love," a film based on the memoir of the same name by author Elizabeth Gilbert. Photo by François Duhamel, courtesy of Columbia Pictures.

The search for oneself, one’s purpose in life and one’s connection to the greater scheme of things is a common theme in stories of all kinds, from classic mythology to contemporary literature and even present-day cinema. And now that time-honored theme once again takes center stage in one of this year’s most anticipated theatrical releases, “Eat Pray Love.”

Based on the best-selling memoir of the same name by writer Elizabeth (Liz) Gilbert, “Eat Pray Love” chronicles the year-long globe-trekking odyssey of the author (portrayed here by Julia Roberts) in her quest to find herself—and God. The story opens in New York not long before Liz’s divorce from her husband, Stephen (Billy Crudup), a likable but ultimately lost soul. Rather than stay stuck in an unsatisfying marriage, Liz decides to end it and move on. But to what?

Liz initially takes up with David (James Franco), an aspiring young actor who bears a strikingly uncanny resemblance to her ex-husband, only in a younger version. But, upon realizing that she’s on the road to repeating the same mistake, Liz decides she needs to pursue a more radical course. Having always had a strong sense of wanderlust, she decides to travel the world in search of herself and a new spiritual compass. Her itinerary takes her to Italy, then to an ashram in India, and finally to the Indonesian island of Bali.

Throughout the course of her journey, Liz learns various lessons about life. A colorful assortment of guides helps her along the way, too, including a transplanted Swede living in Rome (Tuva Novotny), an uprooted Texan looking to find himself in India (Richard Jenkins), a Balinese holy man (Hadi Subiyanto), a miracle-working medicine woman (Christine Hakim) and a sexy, sensitive Brazilian living in paradise (Javier Bardem). As a result of her experiences and interactions, Liz finds a new way of looking at herself, her existence and her relationship with the divine—or at least that’s what viewers are told they’re supposed to believe, which is where, in my opinion, this film fails to deliver.

While I’d like to believe that the creators of this movie had the best of intentions, sadly, those aspirations are not reflected in the finished product. That’s because the picture focuses more on the surface trappings of Gilbert’s story rather than on the inner, heartfelt insights she was supposed to have gleaned from her journey, ultimately emphasizing shallow style over meaningful substance. In doing so, the movie comes across as more travelogue than revelation. It showcases its worldly destinations beautifully, serving up a banquet of gorgeous location shots, but, when it comes to its spiritual aspects, it offers only the occasional morsel—and in carefully controlled portions at that.

In the course of Liz’s odyssey, we learn that she is something of a quiet, but nevertheless self-avowed, control freak. To overcome this, what she really needs to do is let go and live life, and the filmmakers try very hard to convince us that that’s precisely what she’s done by story’s end. Unfortunately, that’s a stretch, given that the film itself is frequently flat, devoid of the passionate zest for living—both temporally and spiritually—that makes such an accomplishment possible. In fact, the picture is so lacking in this regard that viewers practically have to take the filmmakers’ word for it.

The movie’s overarching spiritual message deals with learning how to embrace both the outer, secular world (as told through Liz’s trip to Italy) and the inner, divine world (as told through her trip to India) and then how to successfully integrate the two (as explored in her Bali experience). And that’s certainly a worthwhile ambition, not unlike some of the ideas embodied in conscious creation/law of attraction principles. However, given the message’s presentation here, the relevance often gets lost in the depiction of local culture and attractions. Liz’s Italian experience, for example, with its spotlight on the secular, features so many eating sequences that it’s like watching programming from the Food Network. Similarly, the Indian sequence focuses more on religious ritual than it does on spiritual practice, frequently muddying the water when it comes to distinguishing the two and underemphasizing the significance of the latter. The Bali sequence, easily the film’s strongest, comes across best in making its point, but even that is often diluted by the incorporation of sidebar stories that, as nice as they are, take viewers off the main path and down unnecessary secondary roads.

The foregoing issues aside, “Eat Pray Love” is not without its strengths. As noted above, it’s beautiful to look at, and its performances are all quite capable, effectively fleshing out the characters (especially those of the guides) and making the narrative appear stronger than it actually is. But, in the end, even these assets can’t save a picture that’s lost and in search of a point to make.

Viewers looking for films about seekers in search of themselves and their connection to the Universe have a long list of better selections to choose from, and they’d be wise to give those pictures a look before spending time on this underwhelming offering. Those searching for movies that address this topic from a woman’s perspective in particular should check out such choices as “Under the Tuscan Sun,” “Shirley Valentine,” “An Unmarried Woman” or “Bread and Tulips,” to name a few.

While I certainly see the value of addressing the kinds of ideas this film attempts to explore, I also believe these notions need to be given their just due when displayed on the silver screen. Revelatory insights merit more attention than passing notation like oh so many items on a travel guide’s list of must-see attractions for a particular destination. Viewers truly deserve better when it comes to issues as important as this.

Sharing his heart through music and chanting is the basis of Krishna Das’ own spiritual work;his way of serving the Divine within himself and others.

Over the years Krishna Das has made numerous pilgrimages throughout India, meeting teachers and saints of many spiritual traditions on his quest to open and purify his heart. Living in jungles, in ashrams, and in holy places throughout India, he has had an opportunity to absorb the ancient truths that have been held by the Indian culture for thousands of years. He has studied Buddhist meditation practices with Anagarika Munindra and S.N. Goenka, and has been initiated into Tibetan Buddhist practices by lamas from various lineages.

Krishna Das has been chanting on a regular basis in yoga centers all over the world. He has taught with Ram Dass and sung for many saints and yogis here and in India.

Sharing his heart through music and chanting is the basis of Krishna Das’ own spiritual work;his way of serving the Divine within himself and others.

Over the years Krishna Das has made numerous pilgrimages throughout India, meeting teachers and saints of many spiritual traditions on his quest to open and purify his heart. Living in jungles, in ashrams, and in holy places throughout India, he has had an opportunity to absorb the ancient truths that have been held by the Indian culture for thousands of years. He has studied Buddhist meditation practices with Anagarika Munindra and S.N. Goenka, and has been initiated into Tibetan Buddhist practices by lamas from various lineages.

Krishna Das has been chanting on a regular basis in yoga centers all over the world. He has taught with Ram Dass and sung for many saints and yogis here and in India.

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My VividLife, Episode 1: Equine Therapy with Jennifer Schramm

Shayne Traviss

Sometime's growth involves digging up the dirt and planting anew...
After over 20 years of marketing, promoting and producing others I've decided to open a new chapter in my life.
If you long to go higher, live a life 'all in' join me as I dive in deep sharing my life experiences, travels and inspirations for living a VividLife.

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Founded by Shayne Traviss formerly VividLife.me was an online resource for personal growth through over 10,000 blogs, audio conversations and videos, from thought leaders, best-selling authors and wellness experts from around the globe. VividLife.me provided engaging conversations on consciousness and human potential with Arianna Huffington, Jane Fonda and Alanis Morrissette, wisdom packed blogs from spiritual Icons Iyanla Vanzant and Ram Dass, Green Tips from David Suzuki’s Queen of Green, Advice from Award Winning Parenting and Relationships Experts, Recipes from Vegetarian, Vegan, Raw Chef’s and more… and reached and inspired over 3 million people around the globe.
However sometime's growth involves digging up the dirt and planting anew...
And after over 20 years of marketing, promoting and producing others Shayne Traviss decided to open a new chapter in his life.
If you long to go higher, live a life 'all in' join him as he dives in deep sharing his life experiences, travels and inspirations for living a VividLife.